Đặng Thái Huyền is one of the few female directors making war and post-war films such as Người Trở Về (The Returner), Đất Lành (Gentle Land), Vũ Khúc Ánh Trăng (Dance of Moonlight), and others.

Her latest movie, Mưa Đỏ (Red Rain), will be shown nationwide from August 22. Set in central Quảng Trị Ancient Citadel, the film is based on the true story of Vietnamese liberation soldiers fighting against US-Sài Gòn troops to protect the citadel over 81 days and nights from June to September 1972.

Huyền spoke to Việt Nam News about her love of filmmaking.

How did you recreate the fiery summer atmosphere in the film?

The movie portrays just a slice of the fierce battle in Quảng Trị. We do not hesitate to show the sacrifices and losses of the Vietnamese military. But to me, the quiet moments in the war, after bombing, when the soldiers face themselves are what I am most interested in and what I highlight in the movie. 

Following the spirit of the original script by writer Chu Lai is difficult, but there must also be adjustments to suit production conditions and the current financial situation of the film industry overall.

There are many scenes in the movie that haunt me. After finishing the big scenes, the crew and I always wonder how past generations were able to overcome 81 days and nights in the citadel, while enemy planes were dropping bombs from the sky and artillery shells being fired at all hours.

I chose these scenes because I believe that they depict precious moments. I think sometimes the fierceness of war was not the bombing or gunfire, but the quiet moments that move us.

Could you talk more about the movie set?

To authentically recreate the historic citadel battle, the film crew built a studio and scenery covering dozens of hectares of land in Quảng Trị, next to the Thạch Hãn River. 

The set was designed based on the original citadel and its architectural features, like the Đinh Công Tráng Gate, the layers of ramparts, the moss colour and the brick wall structure. All of these were researched and meticulously restored. The lime-stained walls and each crumbling crack not only set the scene, but also carry the breath of war.

We also mobilised military units, weapons, equipment and vehicles to shoot large scenes with sometimes thousands of extras participating.

Did you feel pressure while making the film?

There was a lot of pressure in taking on this project. But I think the biggest pressure is what I put on myself. I want the audience to watch not just with the mindset of watching a historical movie, but to truly feel the extremely resilient fighting of our ancestors, to appreciate the value of peace today.

We try our best to accomplish that. We think that it's not just a movie, but a tribute to previous generations. More than a memory, the film is a feeling that will follow us for the rest of our lives.

What do you think about your crew, which has a lot of women?

The crew does have many female workers, which is a major difference for this movie in my opinion. 

I think women's strongest feature is that they are not overconfident, but always do their work with meticulousness, care, perseverance and endurance. This keeps the entire production running smoothly and the movie wraps on time, without any chaos. 

What do you expect from audiences after watching the movie?

The most important thing is that when the audience leaves the theatre, they find themselves wanting to learn more about the 81 days and nights of the citadel battle as well as other war stories. They will hopefully feel deep gratitude for the past generations that made huge sacrifices for our peace today.

The movie cannot convey all of the brutality of war. But if it can stir up emotions, urge a thought or a question, then for me, the movie has fulfilled its mission.

Other recent war movies have been received warmly and become box office hits. What do you think about this trend?

It is a good sign for the Vietnamese cinema industry. More than a decade ago, everyone was afraid that audiences would turn their back on war movies. But now they queue for hours for tickets. 

This shows that if invested in carefully and made seriously, historical and war-themed movies have a chance to reach a wide audience, including young film goers. That creates great motivation for producers and directors.

Why do you pursue war-themed films even though this genre is difficult to make?

During my career, I have worked on different genres, not just war films. But it is true that I am mostly known for war and post-war movies.

This makes me happy. Making historical films is my mission, not my duty, and I cherish every opportunity to do it.  VNS